Neurofisiologia Paolo Battaglini

A prolific, award-winning Italian trumpet and flügelhorn player known for his warm tone and lyrical style. His style is based on the classic Miles Davis sound of the '50s, and the very lineup of his quintet is reminiscent of Davis' group, with excellent tenor Tino Tracanna. They mostly play originals and the music flows fresh and engaging, never a mere imitation.

Legacy & (next) Legacy are the brand new musical projects by Paolo Fresu. New compositions for celebrating three anniversaries: his 40-year-old Quintet his 20-year-old Devil Quartet and his 22-year-old Duo with Uri Caine 3CD Box Set & 3 LP Box Set limited, coloured and hand numbered. Both signed by Paolo Fresu.
At the beginning of the '80s, trumpeter Paolo Fresu attended the Siena Summer Jazz Seminars and amazed Enrico Rava with his creativity, talent, and technique. Over the next ten years, he became a major player on the Italian scene, first with his own quintet (which is still going), then branching out in a variety of projects. After finishing his Conservatory studies, he became a teacher at the same Jazz Seminars in Siena; he lives half the year in Paris, from where he coordinates the major Time in Jazz Festival he created in his hometown…

Within the Italian polyphonic repertoire for Holy Week of the first half of the 16th century, a group of works that particularly stands out for its organic, comprehensive and unique qualities are the two books of four-voice Lamentations and responsories for the office of Tenebrae from the Triduum sacrum composed by Paolo Aretino (Paolo Antonio del Bivi, 1508-1584). They were published respectively in 1544 (the responsories: a first printed edition of its kind, to the best of our knowledge) and 1549 (the Lamentations). Both books were reprinted in 1563, a rare occurrence for a collection of this type.

Within the Italian polyphonic repertoire for Holy Week of the first half of the 16th century, a group of works that particularly stands out for its organic, comprehensive and unique qualities are the two books of four-voice Lamentations and responsories for the office of Tenebrae from the Triduum sacrum composed by Paolo Aretino (Paolo Antonio del Bivi, 1508-1584). They were published respectively in 1544 (the responsories: a first printed edition of its kind, to the best of our knowledge) and 1549 (the Lamentations). Both books were reprinted in 1563, a rare occurrence for a collection of this type.

E via, tutti a dire: "il jazz incontra la classica" e viceversa, "Fresu lirico", "il trombettista sardo improvvisa sui canoni classici" e così ruzzolando nella banalità menzognera. La prima verità è che "Vinodentro" è una colonna sonora dell'omonimo film di Ferdinando Vicentini Orgnani, che ha nel cast Giovanna Mezzogiorno e Vincenzo Amato. La seconda è che Fresu non è nuovo a lavori di questo tenore musicale: l'elenco sarebbe troppo lungo e tedioso.

With 850,000 volumes, 120,000 old books and a collection of 7,500 newspapers, the Municipal Library of the Archiginnasio of Bologna is a place steeped in history. It was here, in early 2021, that Paolo Fresu decided to celebrate his own history. For his 60th birthday, the Sardinian trumpet player gathered a handful of relatives for an exceptional concert, obviously without an audience. Together with bandoneonist Daniele di Bonaventura, pianist Dino Rubino, double bassist Marco Bardoscia and the Alborada Quartet, he wandered through various rooms in this magnificent library performing pieces in his own style. A colourful and hybrid jazz, European at heart and always strolling around.

In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire. Thus also Venice’s Teatro La Fenice, in a commendable effort, staged this Pia de’ Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in 1837, was ambiguous, so much so that Donizetti re-worked it as many as three times. The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer. The listener will undoubtedly wonder, once more, at Donizetti’s wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted, here, by Patrizia Ciofi.